More sloppy research by Casey’s research team on the Oscar factoid. He’s leaving out Isaac Hayes and anyone else who may have won an Oscar for best song or score and also had a hit single. He never said it was just limited to people with acting Oscars. #at40

Roberta Flack was the first female artist to have number ones in three consecutive years. Followed quickly by Helen Reddy.

A couple of weeks later, Love’s Theme would become the first song to break out of the New York City discos and hit number one. Except Casey and most of his listeners had no idea yet that disco existed. #at40

In recounting the list of female solo artists who had 2 number 1s by January 1974, Casey forgot to include Cher, who’d already had number 1s with half breed and gypsies tramps and thieves. She’d soon have a 3rd with dark lady. And soon Roberta Flack & Helen Reddy would each have their 3rd. #at40

Hello It’s Me by Todd Rundgren is one of the rare examples of an artist covering their own previous hit single (by his band the Nazz) and actually doing it better. #at40

Spiders and Snakes is definitely not Jim Stafford‘s worst hit single, given that he followed it up with My Girl Bill. #at40

Strawberry Patch must be the worst of the Tony Orlando and Dawn singles, and that’s saying a lot.

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It’s def 12/19

That would be plausible if the Jake Holmes record was anywhere to be found on the Hot 100, which it wasn’t. It had peaked at number 49 a month earlier and it was steadily falling off after that. 12/19 was actually the first week that it wasn’t on the hot 100 at all.

Agreed that it is, but still weird that Casey pretended a song was #39 that had already fallen out of the hot 100 in which only Peaked at number 49

It didn’t make it. Casey threw it in for reasons unknown.

Jake Holmes, btw, is the songwriter of Dazed and Confused, made famous by Led Zeppelin. He also co-wrote the most experimental albums by both The Four Seasons and Frank Sinatra. The Sinatra album, Watertown, while his least successful album commercially, is absolutely brilliant. #AT40

The real #39 song the week of 12/19/70 was Love The One You’re With by Stephen Stills, which debuted on the Top 40 that week, jumping all the way from #67. It eventually peaked at #14. I guess Casey figured the song would still be around after the holidays and he could play it then. #AT40

Jake Holmes So Close at #39 on 12/19/70 #AT40 is just plain fake. The song peaked at #49 the week of November 28 and by 12/19 had fallen off the Hot 100 entirely. Why did Casey stick it into the show? Did he just like it and wanted to play it once? Was it a favor to someone? Heaven forbid, payola?

It sounds like a Spinners song because it was produced by Thom Bell, the man who produced the Spinners’ big hits.

Cher and Sonny & Cher with two hits in the upper reaches of this week’s #at40 chart. Shows the power of having your own prime time variety series back then. The Sonny & Cher Comedy Hour premiered in Aug. 1971 and immediately started to pay dividends on the charts.

The Santana song at #12 is so great— it’s Santana’s musical homage to James Brown. #at40

Ritchie Family, formed by future Village People Svengali Jacques Morali, score their 2nd hit with a medley of disco hits: Gloria Gaynor’s remake of Reach Out I'll Be There, Philly soul hits I Love Music, Bad Luck, and TSOP, Silver Convention’s Fly, Robin, Fly, and their own cover of Brazil. #at40.

Sorry Seems to be the Hardest Word was the final US Top 10 single of Elton’s incredible 70s hit streak. He didn’t return to the top 10 until the second half of 1979. #at40

Yvonne Elliman’s cover of The Bee Gees’ Love Me is another great Freddie Perren production. He also produced Elliman’s recording of a later Gibb composition, If I Can’t Have You, which went to #1 from Saturday Night Fever. Most fans think Barry Gibb produced it, but it was Freddie Perren. #at40

Hot Line is another great hit produced by the great Freddie Perren, who not only was involved in all the earliest Jackson 5 #1 hits, but also did the Miracles’ #1 Love Machine, Tavares’ More than a Woman, Gloria Gaynor’s I Will Survive and much more. An underrated genius of 70s pop/soul. #at40

The Salsoul Orchestra was largely comprised of former members of MFSB, who performed on all the big early 70s Philly soul hits and had their own #1 hit in ‘74 with TSOP. They left Gamble & Huff’s Philly Int’l label because they felt underpaid, and had more success as the house band at Salsoul. #at40

Casey says he’s going to play the biggest song ever adapted from an ad jingle, but right now we’re hearing Jeans On by David Dundas, originally recorded as a British TV ad for a brand called Brutus Jeans. After the commercial became popular, a full length version made it to #3 in the UK. #at40

Happy Thanksgiving from the Beverly Hillbillies, Green Acres and Petticoat Junction. Pass the possum, Granny!

Good point!

What I love about “float on” is that it’s this overt branding exercise, yet incredibly, it worked! The song was massive. And then, having been successfully introduced to all the members of the floaters, the public decided they had no further interest in them.

Listening to Hall & Oates’ It’s A Laugh now, you can really hear it as the moment their 70s sound begins to morph into their soon to be 80s sound. #at40

Without breaking stride or missing a week on the top 40, Billy Joel segues from his final hit off The Stranger to his first single from 52nd street. #at40